A nice complement to Thom Zimny’s documentary, “The Promise: The Making of Darkness on the Edge of Town”, comes the World Premiere of “Darkness on the Edge of Town”, a concert film performed by Bruce Springsteen and the E Street Band in December, 2009, at the Paramount Theater in Asbury Park, NJ. Bruce and the band performed the entire 1978 album, “Darkness on the Edge of Town”, just for themselves with no audience.

MAX WEINBERG: “This was my first time seeing the film. I hadn’t seen the film yet. I think Thom really captured how hard it is do that. I was fascinated by Bruce’s eyes. I’ve never seen that view of him from the front like that.”

THOM ZIMNY: “I wanted to capture the interplay. Bruce and I talked about what we wanted to achieve. I held on to a feeling, and Bruce had the idea of bringing the camera in closer to make the audience feel like they were part of the “E Street Band”. I studied the album and tried to focus on individual parts. I have an amazing cinematographer, William Rexer, and we really looked at each individual song.”

Q: “When is every album going to be filmed like a concert?”

MAX WEINBERG: “There will be many more opportunities to do this. There is such vitality with the “E Street Band”. Thom captured the grit of what it is like to play. He captured the concentration and the difficulty to get the right moment. He did that so well. That is what the “E Street Band” is all about, capturing THAT moment. I would love to see the film again. It was amazing to watch the contribution. You internalize it, the songs become part of your life blood. When we rehearsed “Candy’s Room”, it was called “The Fast Song”, if you remember Barry White records, I think that’s what I was thinking. It’s really a privilege to play that music. Each night we play, it is like the first time we’ve played. That is the beauty of the E. Street Band. When you are playing, that’s not the mix you hear when you are in that moment. We have to make each song sound like it is the first time we’ve ever played it. The group is sensitive to what everyone one else does. Drum and bass players always talk about locking in, and we just naturally ‘lock in’. Even when we are rehearsing in Bruce’s living room, it’s as if we are playing Giants Stadium. My 36 years has been an unbelievable privilege.”

THOM ZIMNY: “It was a great Saturday afternoon. There was this calm. There would be this amazing “Candy’s Room”, and when I first got the footage, there was this communication between Bruce who would turn to Max, and Max, who was behind Bruce. There was this constant interplay, and camera shots that would try to capture this interplay between singer and drums, and bass and drums.”

Q: Will there be any more new material?

MAX WEINBERG: “If Bruce has anything to do with it, there will be many more albums. We would rehearse from 2-7 pm everyday at Bruce’s house. I don’t know when he ate or slept because he always had new material for us to work on. I had a tape recorder, and I would tape the rehearsals in order to remember the new material. “

There is a box set that comes out next week, and for any Bruce Springsteen fans, you will need to take the week off, because there is so much material in there, that you will need to take the entire week off.

I would like to go back on tour. As many may know, I have free time now. I am working on 31 night performances and just did “The Stand Up for Heroes” event last night at the Beacon Theater. We had 12 horns behind us, and played, “Prove It All Night” and “Kitty’s Back”. I would like to go back on tour on the sooner side of ‘sooner than later’. When Bruce calls, I’ll be ready. We played “The Stone Pony” six weeks ago, and then the “Stand Up For Heroes” event last night. We still do it the old fashioned way.”

THOM ZIMNY: “I would like to thank Bruce for allowing me a lot of freedom and his ability to trust me and give me what a filmmaker needs, and that is time, time to explore and edit. A portion of the proceeds of the film will go to ‘The Danny Federici Melanoma Fund”.

MAX WEINBERG: “I think Danny would be very happy to know that the music lives on. Danny really put that boardwalk sound into the music.”

Well, it’s been a long time in the making, but well worth the wait. “Wilde Salome”, is Al Pacino’s re-interpretation of Irish writer and poet, Oscar Wilde’s,(1854-1900), once banned and most controversial work, “Salome”. Salome was the stepdaughter of tetrarch Herod Antipas, the first century AD ruler of Galilee and Perea. Al Pacino explained, “that most of the things I direct never see the light of day. They go into someone’s vault, and I wish I could show my other film, “The Local Stigmatic”, as well. I wanted to make this film, “Wilde Salome”, in particular and wished Oscar Wilde was here to help me introduce the documentary, as “he would give the introduction alacrity and wit”. Al explained that “the film took on it’s own life”, and stars one of the decades most talented newcomers, “a total revelation”, and the reason he made the film, lead actress, Jessica Chastain. The film also hosts discussions about Oscar Wilde with Gore Vidal, Tom Stoppard, and Bono.

Al Pacino: “I am on Broadway starring as Shylock in “The Merchant of Venice” at The Broadhurst Theater, so I have to be careful with my words. I’m on vocal rest today. Twenty years ago, we made “The Local Stigmatic”, and I enjoyed the experience of understanding what it was like to make a movie, and show reverence towards directors. I know the difference between a real filmmaker and what I do. I would only make a film that I felt I had a real connection to. Herod, was like Wilde, in that he was the third rail of passion, a witty sophisticate. This is a story about obsession. I played Herod in the film, ‘Well, someone has got to do it’.”

Qatar is located between Saudi Arabia, and the United Arab Emirates, while Tribeca is the TRIangle BElow CAnal Street in Lower Manhattan, so how does “The Doha Tribeca Film Festival” get it’s name? The DTFF began in 2009, and is a cultural collaboration between the DFI, Doha Film Institute, and Tribeca Enterprises. The mission of the festival is to celebrate international film and entertainment while acknowledging DFI’s film financing industry events with the goal of establishing a long term film industry in Qatar. It will run over the course of five days and will showcase the best of Arab and International cinema!

World reknown Egyptian actress, Yosra, has been appointed the President of the Jury for the 2nd annual Doha Tribeca Film Festival, October 26-30, 2010. Four additional acclaimed jurors include, Academy Award Nominated actress for Best Actress in “Frida”, Salma Hayek Pinault, Nick Moran, Bhavna Talwar, and Bosnian screenwriter and film director of the Academy Award winning, “No Man’s Land”, Danis Tanovic. Together they will choose the winners of the Festival’s Arab film competition: Best Arab Film and Best Arab Fimmaker, who will each receive $100,000 USD.

Films being shown at the 2nd Annual DTFF, October 26-30, 2010

Andrew Lau’s “LEGEND OF THE FIST: THE RETURN OF CHEN ZHEN”

John Curran’s “STONE”, Starring Robert DeNiro and Ed Norton

“MACHETE” starring Jessica Alba

“CASINO JACK” starring Kevin Spacey

“RAKHT CHARITRA” by Ramgopal Verma

“UDAAN” by Vikramaditya Motwane

“CHAMPS ELYSEES JE T’AIME” by Mahdi Ali Ali, has been added to the Arab Short Fim Competition

The Oscar race is in full swing with this year’s Best Picture Contender, “The King’s Speech”, due out November 26, 2010.

Follow the relationship between a down to earth, middle class family man working as a speech therapist and the Duke of York with a stammering problem. Lionel Logue, played by Geoffrey Rush, is not just an instructor, but a witty and fun loving, friend, speech and psychotherapist, who attempts to assist a client by breaking the ice, while breaking down childhood fears and walls built up after years of growing up as a member of The Royal Family, as well. The newly appointed King George VI must overcome obstacles in order to demonstrate his leadership skills so that he can serve the public through one of the most difficult periods in history.

Director Tom Hooper on “The King’s Speech”:

Writer of "The King's Speech" screenplay, David Seidler, felt inspired to write the story, because when he was younger, he also stammered. David would listen to recordings of King George VI, and think to himself, "if he can overcome his stammer, then so can I."

“Colin Firth, as King George VI, and Geoffrey Rush, as Lionel Logue were joyous to work with. They are both fiercely talented. Geoffrey is actually Australian, but his British accent is so impeccable, I think it kept Colin on his toes. Geoff has a boyish enthusiasm, while Colin has a different energy. They were both fabulous, rehearsing for three weeks.”

“Nine weeks before the shoot we tracked down Lionel Logue’s guardian, who had unpublished diaries of interactions between Logue and King George VI, in his attic. The diary was never seen before by any art historian. This was a treasure trove of information, as the diaries only started once he was King. For example, the line, “You still stammered on the ‘W’. ”Well, I had to throw in a few, so they knew it was me.”, was a direct quote from the diaries. Also, the shot of him at the desk and giving the speech standing up with the window open to relax him, were all information provided to us from the diary.”

Q: Colin Firth had so much fear in his face as he played the role of King George VI. How did you direct him?

A: “I terrorized him. No, but seriously, Colin watched 6 hours of footage of the King. Colin so wanted to get it right. We also cut away a lot, so that when we cut back to faces, you would see quiet desperation. Stammering is very infectious. We also had the stammerer who played Claudius in “I, Claudius”, Derek Jacobi, on the set, in case we needed to refer to him.”

Q: “How did you research the speech therapist?”

A: “Colin Firth’s sister ironically is a speech therapist. It is not about what you say, it is actually about the silences. It’s about being caught drowning in those silences. It was about making a film that was tolerable to watch. If the stammering became too much, the movie would become unwatchable.”

Q: Talk about the role of Queen Elizabeth, played by Helena Bonham Carter.

A: “Helena Bonham Carter was so eager to talk to anyone who had spoken with the Queen. She was splendid.”

Q: Talk about researching the time period.

A: “I was able to still talk to people who were alive during that time period. For example, my next door neighbor was still able to provide me with facts and information of activities of daily living. For example, the smog was so thick that in order to hail a cab it had to be done from six feet in front of the car.”

If you find yourself in Rome towards the end of October to the beginning of November, 2010, then maybe one of the 146 Films and Documentaries being shown at the Auditorium Parco della Musica at the Rome International Film Festival, will be of interest to you.

Of the Sixteen films in competition, judged by the International Jury comprised of Sergio Castellitto, Natalia Aspesi, Ulu Grosbard, Patrick McGrath, Edgar Reitz, and Olga Sviblova, four are Italian, while two are American.

"Crime d'amour", a pilot of the series, "Boardwalk Empire" by Martin Scorsese, "The Kids Are All Right", "Let Me In", and "Il padre e lo straniero".

Sophia Loren, Gina Lollobrigida, Marcello Mastroianni, and Federico Fellini are just a few of the masters in the long life of Italian Cinema who have helped form the film industry to make it what it is today. Come celebrate the 50th Anniversary of the Fellini classic, "La Dolce Vita", as this iconic film has been newly restored with special help from the laboratory L'Immagine Ritrovata at the Cineteca in Bologna, in association with the Film Foundation, Centro Sperimentale di Cinematografia-Cineteca Nazionale, Pathe, Fondation Jerome Seydoux-Pathe, Mediaset, Medusa Film, Paramount PIctures and Cinecitta Luce, and will make it's world premiere at the Auditorium Parco della Musica on October 30th!

Ironically, Davis Guggenheim’s latest documentary, “Waiting
for Superman”, a film about America’s failing school systems, opened the same
week that co-founder of “Facebook”, Mark Zuckerberg, is about to have his
reputation tarnished as a result of the way he was portrayed in the film
“Social Network”. Just days before the film's premiere at “The New York Film
Festival”, Mark donated $100 million to the Newark public school
system. At the same time, at the premiere of “Waiting for
Superman”, Chancellor of the New York City Department of Education, Joel Klein,
American social activist and educator, Geoffrey Canada, and chancellor of
Washington D.C.’s public school system, Michelle Rhee, discussed the need for reformation
in our nation’s failing schools,the need for better leaders, finding ways to remove lackadaisical,
tenured teachers, to make teaching a more prestigious career that is valued and
respected, as in countries, like Finland, to make public schools the same
caliber as charter schools, and, above all,the importance of putting the children first.

“Social Network”, directed by David Fincher, is based on the
book “The Accidental Billionaires: The Founding of Facebook, A Tale of Sex,
Money, Genius, and Betrayal”, and proclaims that, “You don’t get to 500 million
friends without making a few enemies”.Well, if you are a fast talking, fast thinking, pretentious, computer
programming genius, who wants to set himself apart in order to get into exclusive social events, meanwhile, relates to inanimate objects and algorithms better
than human beings, this is in fact the case.When Mark Zuckerberg decides to create a site similar to "Hot or Not", Harvard classmates approach him with the idea of making "Harvard Connection", an online community for Harvard students. Mark fine tuned their idea, went out on his own, and made, "“The Facebook”, instead. When "The Facebook" becomes an Ivy League success, his classmates decide to bring
him to federal court on charges of intellectual property theft.

The question remains: Should Mark Zuckerberg have been sued for theft if he was the one with the capabilities to make a "Hot or Not" like site, and the social network phenomena, "The Facebook"? It might make more sense if sites like "Hot or Not", "MySpace", and "Friendster" were suing Mark instead.

When it comes to relationships, the highly intellectual, fast thinking, mover and a shaker falls short when he insults and offends the girl he likes, gets star struck by the wrong kind, and betrays his best friend, burning every Golden Gate bridge in his path. Ironically, a man with 500 million friends is left with none.

“Dating you is like dating a stairmaster”.

“You are going to think girls don’t like you because you are
a computer nerd, but it will be because you are an @&&hole.”

“I can beat him up myself.I’m 6’5”, 220 pounds, and there are two of me.”

Article by Sharon Abella, Please also see http://1worldcinema.wordpress.com

”Black Swan”, a psychological thriller, directed by Darren Aronofsky, starring Natalie Portman and Vincent Cassel, opened the 67th Venice Film Festival, at the Palazzo del Casino last night. Natalie Portman portrays, Nina, a principal ballerina who recently landed the lead part in “Swan Lake”, and succumbs to the pressure of the demanding, competitive nature of the industry. She is tormented, confused, and trying to find herself and differentiate between right from wrong, however, she lives at home with a controlling ballet/stage mom, is tempted to indulge in promiscuity by collegues who secretly want her part in the ballet, and may not have her best interest in mind, falls victim to sexual advances by her teacher, who could either make or break her, and suffers from self mutilation, anorexia, and paranoia. How much is reality? How much is delusion? Is it all one big delusion? When asked about the complexity of the storyline, Natalie responded, “I’m going to leave it ambiguous”. Natalie, who started acting at the age of 12, deserves the highest accolades not only with her flawless acting as the troubled young adult, but also as a ballet dancer, as she received training from Benjamin Millepied, a principal dancer at the New York City Ballet and a ballet choreographer who assisted Natalie to perform all of her ballet scenes on her own.

Bienvenido to "The 11th Annual New York International Latino Film Festival", presented by HBO! Get out of the hot sun and into a cool theater by supporting international filmmakers who will be showcasing dozens of films at SVA and Chelsea Cinemas from July 27 to August 1st. While "The Dry Land" starring America Ferrara and Wilmer Valderrama will open the NYILFF this Tuesday, July 27, films entitled "Accountable" to "Yanindara" and over 100 others in between, will guarantee something for everyone.

Please see www.nylatinofilm.com for the complete line up, and www.nylatino.bside.com/2010/films/ to purchase tickets.

New York born and raised, graduate from The University of California at Berkeley, and currently living in Brooklyn, filmmaker Betty M Park, makes her directorial debut with her first full length feature with one of The NYILFF's most highly anticipated films, "Mamachas del Ring". Betty is currently working as a co-executive producer on a television series for MTV, and has also worked as an editor for a myriad of other networks including, Bravo, TLC, and Court TV.

She took time out of her busy schedule to discuss the many facets of the documentary set in Bolivia and Peru. "Mamachas del Ring" is a full length feature that follows a local Bolivian wife and mother, working as a street vendor, do whatever is necessary to pursue her passion to succeed in the dangerous world of Bolivian professional wrestling, even if it means taking the show on the road to nearby towns and countries, and neglecting her own family in the process.

Q: Sharon Abella: Please clarify WWF vs WWE.

A: Betty M Park: "'WWF' is the acronym for 'World Wildlife Fund', while 'World Wrestling Entertainment' is now 'WWE'. When I talked about the documentary, "Mamachas del Ring", in the States, people almost always assume it is mud wrestling, but I have to clarify that it is the opposite of mud wrestling. Most people don't know that women wrestle, or have a preconceived notion of the whole mud wrestling stereotype."

Q: Sharon Abella: Talk about the history of professional wrestling in Bolivia. Is it new?

A: Betty M Park: "It began in the 60's and 70's, and got the idea from Mexico, who most likely got the idea from the USA. One of the stars in the film, Anna, aka, "The Witch", came from a long line of wrestlers. Her dad was famous. She had been wrestling longer than the cholitas. So there were a few female wrestlers before the cholitas, but they were the ones who really set the standard for women, especially for the indigenous population in Bolivia. A country like Argentina is much more European. When you walk around Bolivia, the cholitas are very active, but at the same time they are marginalized in society, in favor of the modern, progressive Western ways. "

Q: Sharon Abella: When you watch WWE in the USA, it seems as if most of it is staged, whereas, Carmen Rosa's husband, Oscar, had mentioned in the film that none of it is staged. Is that true?

A: Betty M Park: "It's a mix. They choreograph everything, and work out the story beforehand, but they don't necessarily stick to that once they are actually in the ring. There is always a good guy and a bad guy, "rough and the technical". In the documentary you see people get carried away and beat the cr@p out of one another."

Q: Sharon Abella: Has anyone gotten hurt? Is it real blood?

A: Betty M Park: "It's pretty impressive to watch. The first time we were shooting and there was blood drawn, we asked about injuries, and they said one guy who broke his neck in the ring and passed away. Anna, "The Witch", has actually broken her nose a few times, and also broken her shoulder. They definitely get very bruised when they are kicking each other."

Q: Sharon Abella: What do you think drives these women to this sport? Is it innate?

A: Betty M Park: "It's definitely sort of an innate passion that drives them, but I also think it's an outlet for them. For Carmen Rosa, this is her thing and she can do whatever she wants to do with it and separate her from her other roles as mother and wife, and people really appreciate her for her. It's a constant struggle with her husband though."

Q: Sharon Abella: Did her husband not want her to wrestle at all, or was it the travel and time apart that upset him?

A: Betty M Park: "The difficulty was when they lost their place to wrestle in La Paz, they had to travel so much. When they were traveling so much, that's when he got upset. Since then, things are constantly changing. Since the year and a half after the documentary, she has pretty much stopped wrestling. There were other things that attributed to her stopping wrestling, but keeping the peace with her husband, her health, her kids. She was starting to have health complications, internal injuries. One way her husband and Carmen started to work it out was he became her manager, and she started training her son how to wrestle. Her children, especially her daughter were always very supportive of her, and encouraged her to go off and pursue wrestling."

Q: Sharon Abella: Talk about Carmen Rosa's courage to leave it all, including her family, behind to pursue her passion for wrestling.

A: Betty M Park: "I feel like it comes from the same place where anyone is driven makes it happen. People, especially with creative passions, can identify with that. You make choices in life despite yourself. There might be a better, more reasonable, sensible choice, but you can be disappointed. It's definitely something Carmen struggled with. She couldn't given up wrestling, and she couldn't give up her family. She was a very caring and sensitive person, it wasn't as though she could just leave her family without any emotional impact on her."

Q: Sharon Abella: Discuss the use of claymation.

A: Betty M Park: "It's very difficult, but I had an animator. He was sort of a one man show, yet we were equally inspired. We got into a zone, we had an idea and we did it. I actually had the idea early on in the shoot. I had done a short film in which I mixed media. When I was in Bolivia, they have these handmade dolls, initially I was thinking I could take these dolls and animate them. When I got back to the States, I realized how hard it was to manipulate them. Then I found Christophe Lopez-Huici, and had offered to help with clay."

Q: Sharon Abella: Any challenges that you faced as this was your first full length feature, shot in a foreign country?

A: Betty Park: "I was going to bring a DP who is Columbian, and I was leaving on a Wednesday, and the Friday before he said he couldn't do it. So, I postponed flying down for a week and did a blanket search through NY, looking for DP's. I had some contacts down in Bolivia and I decided to go down there and decided that if I can't find a DP down there, I'll just shoot it myself. It was like a chain of events, but I finally found someone who wound up being perfect. He was living in Bolivia. Things just wind up working out. There were so many obstacles, but I never thought that I wouldn't finish it, I just always looking for away around any problems that came up."

Q: Sharon Abella: Did you have different ideas of how you wanted the documentary to be?

A: Betty Park: "I had different ideas of how I wanted the documentary to be, I thought maybe it could be a sports documentary, but then once I got down to Bolivia, things shifted so much, it was more like me reacting to what was going on."

Q: Sharon Abella: How did Carmen respond to having a documentary made about her?

A: Betty Park: "She's definitely very open. There's always that moment where people let you into their world. I remember the first night where she let us into their house, she was very sweet. We had only been shooting with her for a few weeks before that, and she let us into her home. They are show people at heart, they really enjoy the attention. One of my favorite scenes is when they are handing out the fliers and the local children are running after the car trying to grab one."

Q: Sharon Abella: How do the women in the ring feel about men?

A: Betty Park: "They are part of a larger structure. That male dominance is so rooted in their family structure and society. Carmen is very sensitive when her husband calls her upset, she gets upset too. Another one of my favorite scenes in the film is where Carmen is scared to go down the slide. It was surprising to me. She is a complicated person in some respects. She doesn't just say, "Yes, Oscar. Yes, Oscar", to her husband. They do argue."

Q: Sharon Abella: Has the success of the film helped her career as a wrestler?

A: Betty Park: "She is coming to New York next week. If the documentary gets distribution in Latin America, it will help her."

***PLEASE SUPPORT "Mamachas del Ring" by attending one of the following screenings:

Thursday, July 29th at 6:00pm at the SVA Theater, Screen 2, located at 333 W. 23rd St (Between 7th and 8th Avenue)

Saturday, July 31st at 12:00pm at Clearview Cinemas Chelsea, Screen 8, 260 West 23rd St (Between 7th and 8th Avenue) *** WITH SPECIAL APPEARANCE OF THE MAIN LEAD CHARACTER, CARMEN ROSA, IN PERSON AFTER THE SCREENING***

AND

as part of "The 92YTribeca's" Outsider Sports series, "Mamachas del Ring" will screen on

Thursday, August 5th, 7:30pm at "The 92YTRIBECA" located at the 92Y Tribeca Theater, 200 Hudson Street (Between Vestry and Desbrosses).

WINNER OF *BEST FILM* and *BEST PRODUCER* at the 2010 David Di Donatello Awards!

"L'Uomo Che Verra" or "The Man Who WIll Come", is the second full length feature film by acclaimed Italian director, Giorgio Diritti. "The Man Who Will Come" is so powerful, beautiful, and well-researched, it is even shot in a rare form of Italian dialect, known as the Bolognese Apennines, which, today, is spoken by very few, all of whom are older than 60 years of age, even the Italian actors had to be taught to speak the dialect.

Set in a hillside town of Bologna, the capital city of Emilia-Romagna, in 1944, "The Man Who Will Come", accurately depicts the actual tragic murders of 770 civilians by German troops occupying Italy after the fall of Mussolini. Although the film is fictional, yet based on real events, you will be emotionally touched by the character, Martina, an eight year old outcast, who hasn't spoken a word ever since her newborn brother died. Poor Martina is confused as to who and why the Germans are wreaking havoc on their small, unsophisticated, rural town, and while trying to make sense of it all, observes human suffering inconceivable to mankind.

Q: The film is fictional yet based on real events. Discuss the research.

A: Giorgio Diritti: "My intentions were to reconstruct the film in a very detailed way. What I did after that was create a fictional family, they are an invention, however, at the same time, they are very similar to many families that went through this. The historic research that I had to do was very extensive. I went through a lot of the written testimony of people that witnessed these events, and I also met with some of the survivors of the events. It was a huge enterprise. They shared with me, not just their experience of the events themselves, but the emotional impact that it had had on them, and this is something that I tried to be faithful to them while making the film."

Q: Was it difficult to find actors who spoke Bolognese Apennines dialect or did they have to be taught to speak in dialect?

A: Giorgio Diritti: "Yes, it was hard to find actors who spoke that dialect because in reality that dialect is only spoken by people who are older than 60. In the sort of natural evolution of things, everyone speaks Italian, so this involved having to teach the dialect not only to the child actors, but also to some of the main, older, adult actors as well. With regards to casting the right look, the right faces, it was mandatory that the characters also be able to speak the dialect as well. That dialect is something that marks them as a community, and it also marked them as very strange, unlike other communities. The construction and the use of the dialect is also very important in another sense. They use fewer words to say much stronger and sharper things. In a manner of speaking it was also a way that represented social hierarchy. Some people had more of a right to speak than others, and, of course, the older men in the family had the right to the last word."

Q: Please talk about the title of the film, "The Man Who Will Come".

A: Giorgio Diritti: "The title is a very literal translation from the Italian, which has a double meaning. On the one hand, "The Man Who Will Come", is the little boy, the baby, Martina's little brother, who embodies the host of the poor family. A family which is very anonymous to that area. Many of the other families in the area were very large, while this one was just the little girl, and her little brother who was still in the womb. The other meaning of the title goes to the man of the future, and what society has become since these tragic events, since the bitter hatred of Hitler. What kind of society had we become and are we able to prevent the reoccurence of such awful events. The second part raises a question of whether all the progress we have made with science, technology, medicine, etc, has that been matched by the progress we have made as human beings, in terms of our ability to live together." This "Man Who Will Come", could be any man, in a sense I tried to take from history that each of us in a way should feel responsible. Just the way, little Martina has to find the strength within herself to live through and survive these events. She has taken responsibility for this child as her own. She takes a certain sense of responsibility that each of somehow has to take away from this. The responsibility to change, to be able to build society, based on the various and co-existence of different ethnicities, and keeping as far away as possible the type of ideology that don't exist."

Q: Talk about the very talented, young girl, Martina.

A: "For the part of Martina, I auditioned over 800 little girls. I was very struck by her simplicity, how thin she was, that she had the right physical features for the part. But as we worked, I was able to see the great ability that she had, not just as a child, but as a real actor. Then any other sensitivity that she brought to the role, the understanding then was that she was able to lend to the character. She did not receive any awards, however, she was nominated as one of the best actresses at "The David Di Donatello" awards, which are Italy's Oscars. The film, "The Man Who Will Come" won the best film at the awards. So that is quite an accomplishment for a young actor.